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After releasing multinational hits and collaborations with everyone from Davido and Tiwa Savage to Major Lazer and Bad Bunny, Eazi unveiled his first full-length album. The record comes 10 years into his career.
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Eazi sourced artists for the project from art he would see at fairs, on social media, in books or through friends, then commission those artists to create work based on a song from the record. At art fairs in Accra, Ghana, Lagos, Nigeria, and in London, Eazi has previewed the record as a hybrid art exhibition/listening experience. Visitors could listen to the album on headphones while looking at the artworks inspired by each song.
"Art is uniting us, in the sense of collaboration, in the sense of knowing who we are," Eazi tells GRAMMY.com. "We're discovering ourselves through the lens of art, which is beautiful because there's no judgment in art."
Plenty of musicians have sophisticated visuals nowadays that go with their albums. You've gone a step further and commissioned fine art. Why was it important for you to take that step?
To be honest, it just felt like the natural thing to do. Art is the reason why I'm putting out this album. This album was very personal to me, I might have recorded it and never put it out because of how personal it is for me, it was like therapy for me. It was a record of two and a half years of my life.
I mean, album covers, definitely. I think fine art has been used across the years for album covers. I'd seen Marina Abramovich with Jay-Z, in that video "Picasso Baby," around the time she did "The Artist is Present." But the difference between all of that and this one is that this album is not complete without the art. If you consume the album without the art, you've only consumed half of it.
You're in London right now, and there's a big exhibition at Tate Modern of sculptor El Anatsui. And there are many, many newer contemporary artists from Africa going into museums throughout the English-speaking world. Do you think that there's still progress to be made in the perception of African art?
There's definitely so much more, as much as there is for the music there is for the art. And that's one of the things this album seeks to do: show you different ways in which African art is evolving. And not just in the way you see it like when you go to the museum, but actually in pop culture, in its intersection with the music, and its intersection with fashion, for instance, which is something that's part of this album rollout.
Something that gets discussed a lot in the context of this album, is pan-Africanism, an idea that's existed since the end of colonialism. How do you think pan-Africanism exists in the context of 2023, and how is it being expressed in your music in particular?
Think of Benin, where I recorded most of this project. Some parts of Benin used to be Nigeria. And then one day, colonial powers just drew the line, and suddenly some people, families were broken into two by borders. But those borders are ceasing to exist. We, as young Africans, are traveling across; we're making music and collaborating with ourselves. We're making film. We're buying art from Ghana, to Nigeria, to Senegal. We're going to Senegal for fashion shows. We're going to Ghana for Detty Rave, my festival. Art is uniting us, in the sense of collaboration, in the sense of knowing who we are. And we're discovering ourselves through the lens of art, which is beautiful, because there's no judgment in art.
I don't care about the politics of Nigeria and South Africa. I know about it, but I don't care because in the club, there is no politics when I hear those amapiano records. Or when I'm in the studio with Soweto Gospel Choir recording "Exit," there's no politics, it's just pure music. And it's pan-Africanism, in that sense.
You know, you raise an interesting point. Amapiano is a style that has definitely penetrated into Afrobeats music, especially in this year. But listening to your album, I don't really get much of that influence. You are blending a lot of different styles and sounds on this album. How did you make them fit together cohesively, and how did you decide what directions you wanted to go into?
I went to shoot the video for "Exit," the song with Soweto Gospel Choir, and it was after shooting the video that night that I go into the studio. The producer just randomly plays this amapiano beat, and I end up recording the song that became "Patek," a smash hit from last year. And that's my first time jumping on amapiano.
On this record, it wasn't me chasing pop, because it's a record of my life. It's like a journal over instrumentals. So I was only divinely drawn to instrumentals that went along with the topics that were in my subconscious, because I didn't even know the topics I wanted to sing about until I had the beats. You don't hear amapiano on this album, not because there was a purpose [or] an intention to stay away from amapiano. No, it was because it just didn't naturally fit with what I was trying to express on this project.
Obviously, you waited quite a while to finally put out an album. What kind of story did you want to tell, and why did you feel that this is the right time to finally put out an album?
Kel-P had rented a place in Accra, and asked me to come around, just to catch a vibe and chill. So he tricked me, because I ended up going there just to play video games, and he started to play different instrumentals on loop. And as we were chit-chatting, before we started doing anything else, I just started to hear this song, this instrumental that became "Exit." I start mumbling things, and he's like "Just record." I started speaking about very personal things. I never wanted to speak about personal things in music; I felt my music should just be for entertainment and to take you away from all the real stuff happening in the world. But here I was, speaking my truth, telling my stories.
I ended up recording for two and a half years and recording three albums. And the other two are ready, but I couldn't start recording them until I was done with this one, because I needed to put them down to sort of free myself. I needed to ask myself all these questions of who I am. I don't feel the pressures that I felt when I was dropping previous mixtapes, bodies of work. Because to me, this is my project and I'm just sharing it with the world. Because I believe that's the divine purpose.
So African music has always been used for different purposes to speak about proverbs, life. If you listen to songs from Sunny Ade, Victor Uwaifo, Ebenezer Obey, you'll see different topics, including mental health being spoken of in the music. So this is not the first time it's happening. It's just that there's not a lot of education, or those might not be the popular songs that hit the charts in the U.S., but it doesn't mean they're not popular locally.
In terms of Afrobeats, and how we talk of African soft power coming into places like the U.S., are you thinking of how your music is going to be perceived in these countries that don't have the context that you might find in Africa? Are you afraid people might not know the words to your songs, or they might not understand?
No, because I think music is spiritual. Music is a soul language. For instance, I performed once in Goma [in the Democratic Republic of the Congo] to 10,000 people. And in between my performances, I like to drop jokes. And I was dropping these jokes, and no one was laughing. And then I thought to myself, "Wow, I thought I was funny," only for me to remember that in Goma, they speak French and Lingala. So most of the people there didn't even understand what I was saying, but they were singing all the songs.
I've performed in Ukraine, in Kharkov, in Kyiv, in places where nobody understands what I'm saying. But what they understand is the emotion and the spirit behind it. That's the beautiful thing about art, there's no judgment in art. When I hear "Gangnam Style," I don't even know what the song is about, but I just feel it. It's a vibe. And it's the spirit in the music that I think gets to people.
I've been in the hinterlands in Ghana, back in the day when I was mining, and found people playing country music, found people playing music like Kenny Rogers, singing it word for word. How do you explain that? I think that's the beautiful thing about art and music, in that there's no language. Bob Marley said, "One good thing about music, when it hits you, you feel no pain."
It would be a disservice to anybody to just listen to the album, or just look at the art pieces, it must be done in unison, ideally. That exhibition was showing people exactly how I wanted this album to be consumed: You come in, you have the headphones, just you, you listen to the music, and you interact with the art, because that's how you get the full experience.
So you saw a lot of first timers like me who had never ever been to an exhibition, or never going to see art in a museum or a gallery. But because of the music, or because of this project, they were interacting with it for the first time. And it was just so beautiful, that now they get to discover art through the lens of contemporary African artists.
The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track "'Virginia Moon."
During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.
The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa. 152ee80cbc
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